Gregor Joseph Werner: Vol. III: Masses and Motets M. Harer, A. Bierwirth, T. Hunger, M. Flaig, Voktett Hannover, la festa musicale & Lajos Rovatkay

• Gregor Joseph Werner (1693 - 1766): Missa "Sunt bona mixta malis" III/19 - Kyrie:
• 1 Werner: Missa "Sunt bona mixta malis" III/19 - Kyrie: I. Kyrie 03:48
• Missa "Sunt bona mixta malis" III/19 - Gloria:
• 2 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: II. Gloria in excelsis 00:54
• 3 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: III. Laudamus te 01:07
• 4 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: IV. Gratias agimus tibi 00:57
• 5 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: V. Domine Deus 01:55
• 6 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: VI. Qui tollis peccata mundi 01:34
• 7 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: VII. Quoniam tu solus 01:10
• 8 Werner: Missa "Sunt bona mixta malis" III/19 - Gloria: VIII. Cum Sancto Spiritu 01:25
• Missa "Sunt bona mixta malis" III/19 - Credo:
• 9 Werner: Missa "Sunt bona mixta malis" III/19 - Credo: IX. Credo in unum Deum 01:36
• 10 Werner: Missa "Sunt bona mixta malis" III/19 - Credo: X. Et incarnatus est 01:58
• 11 Werner: Missa "Sunt bona mixta malis" III/19 - Credo: XI. Et resurrexit 01:02
• 12 Werner: Missa "Sunt bona mixta malis" III/19 - Credo: XII. Et in Spiritum Sanctum 01:51
• 13 Werner: Missa "Sunt bona mixta malis" III/19 - Credo: XIII. Et vitam 01:30
• Missa "Sunt bona mixta malis" III/19 - Sanctus:
• 14 Werner: Missa "Sunt bona mixta malis" III/19 - Sanctus: XIV. Sanctus 01:02
• 15 Werner: Missa "Sunt bona mixta malis" III/19 - Sanctus: XV. Pleni sunt coeli 01:20
• 16 Werner: Missa "Sunt bona mixta malis" III/19 - Sanctus: XVI. Osanna in excelsis 00:53
• Missa "Sunt bona mixta malis" III/19 - Benedictus:
• 17 Werner: Missa "Sunt bona mixta malis" III/19 - Benedictus: XVII. Benedictus 00:56
• Missa "Sunt bona mixta malis" III/19:
• 18 Werner: Missa "Sunt bona mixta malis" III/19: XVIII. Osanna in excelsis (ut sopra) 00:53
• Missa "Sunt bona mixta malis" III/19 - Agnus Dei:
• 19 Werner: Missa "Sunt bona mixta malis" III/19 - Agnus Dei: XIX. Agnus Dei 02:06
• 20 Werner: Missa "Sunt bona mixta malis" III/19 - Agnus Dei: XX. Dona nobis pacem 01:41
• Motetto "Alma redemptoris mater" III/160:
• 21 Werner: Motetto "Alma redemptoris mater" III/160 02:18
• Motetto "Ave Regina coelorum":
• 22 Werner: Motetto "Ave Regina coelorum" 03:25
• Sonata prima:
• 23 Werner: Sonata prima: I. Largo 01:12
• 24 Werner: Sonata prima: II. Allegro 01:52
• 25 Werner: Sonata prima: III. Largo 00:58
• 26 Werner: Sonata prima: IV. Allegro 01:31
• Motetto "Sub tuum praesidium" III/249:
• 27 Werner: Motetto "Sub tuum praesidium" III/249 02:02
• Motetto "Regina coeli" III/189:
• 28 Werner: Motetto "Regina coeli" III/189 01:58
• Missa solemnis "Post nubila Phoebus" - Kyrie:
• 29 Werner: Missa solemnis "Post nubila Phoebus" - Kyrie: I. Kyrie eleison 01:57
• 30 Werner: Missa solemnis "Post nubila Phoebus" - Kyrie: II. Christe eleison 01:50
• 31 Werner: Missa solemnis "Post nubila Phoebus" - Kyrie: III. Kyrie eleison 00:57
• Missa solemnis "Post nubila Phoebus" - Gloria:
• 32 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: IV. Gloria in excelsis 00:39
• 33 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: V. Laudamus te 01:21
• 34 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: VI. Domine Deus 01:15
• 35 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: VII. Qui tollis peccata mundi 01:45
• 36 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: VIII. Quoniam tu solus 01:36
• 37 Werner: Missa solemnis "Post nubila Phoebus" - Gloria: IX. Cum Sancto Spiritu 00:47
• Missa solemnis "Post nubila Phoebus" - Credo:
• 38 Werner: Missa solemnis "Post nubila Phoebus" - Credo: X. Credo in unum Deum 02:50
• 39 Werner: Missa solemnis "Post nubila Phoebus" - Credo: XI. Et incarnatus est 01:16
• 40 Werner: Missa solemnis "Post nubila Phoebus" - Credo: XII. Crucifixus 01:01
• 41 Werner: Missa solemnis "Post nubila Phoebus" - Credo: XIII. Et resurrexit 01:24
• 42 Werner: Missa solemnis "Post nubila Phoebus" - Credo: XIV. Et in Spiritum Sanctum 01:50
• 43 Werner: Missa solemnis "Post nubila Phoebus" - Credo: XV. Et vitam 00:52
• Missa solemnis "Post nubila Phoebus" - Sanctus:
• 44 Werner: Missa solemnis "Post nubila Phoebus" - Sanctus: XVI. Sanctus 00:57
• 45 Werner: Missa solemnis "Post nubila Phoebus" - Sanctus: XVII. Pleni sunt coeli 00:37
• 46 Werner: Missa solemnis "Post nubila Phoebus" - Sanctus: XVIII. Osanna in excelsis 00:49
• Missa solemnis "Post nubila Phoebus" - Benedictus:
• 47 Werner: Missa solemnis "Post nubila Phoebus" - Benedictus: XIX. Benedictus 00:45
• 48 Werner: Missa solemnis "Post nubila Phoebus": XX. Osanna in excelsis (ut sopra) 00:52
• 49 Werner: Missa solemnis "Post nubila Phoebus" - Agnus Dei: XXI. Agnus Dei 01:59
• 50 Werner: Missa solemnis "Post nubila Phoebus" - Agnus Dei: XXII. Dona nobis pacem 01:32
• Motteto de Confessore "Ecce homo":
• 51 Werner: Motteto de Confessore "Ecce homo": Alleluja 01:28
• Total Runtime 01:15:13

Info for Gregor Joseph Werner: Vol. III: Masses and Motets

The third volume in this series documenting the œuvre of Gregor Joseph Werner reveals the enormous stylistic radius and expressive diversity of this now obscure composer. Of especial significance are the two masses recorded here, which hail from a surviving body of around seventy mass settings by Werner whose musical richness results from the tradition of the genre. The increasingly rich musical vocabulary of baroque sacred music with Latin texts written during the seventeenth and eighteenth centuries was by no means the result of counter-reformation zeal alone. The solemn settings of the unchanging parts of the mass text (ordinarium missae) brought together everything that music had to offer for the glory of God, also in the sense of divine totality. This led to the creation of true musical Gesamtkunstwerke, especially in the ceremonial genre of the missa concertata. In fact, with the exception of psalm and Magnificat settings, there is no other platform in music history where the compositional achievements of the past and present times were positioned side by side in such a systematic way. The spiritual commitment that led to the accumulation of musical means and the dualism of the conservative and the progressive remained effective as an autonomous ethical-artistic source of energy, even when the works’ original liturgical function was later on lost. ...

Magdalene Harer, soprano
Anne Bierwirth, contralto
Tobias Hunger, tenor
Markus Flaig, bass-baritone
Voktet Hannover
la festa musicale
Lajos Rovatkay, conductor

Magdalene Harer
German-born Soprano Magdelene Harer excels in a variety of music styles. She appears on the international stage performing repertoire spanning seven centuries, in oratorio, song and chamber music.

Under the baton of Konrad Junghänel, Jarosław Thiel, Raphaël Pichon, Alexander Liebreich, Paul van Nevel, Philippe Herreweghe, Peter Neumann, Hermann Max and Jörg Straube, she has given concerts in many of Europe’s most prestigious venues, including Koelner Philharmonie, International House of Music (Moscow), National Forum of Music (Wroclaw), Tchaikovsky Concert Hall (Moscow), and National Theatre (Sarajevo).

Magdalene’s current focus is ensemble and consort singing and she regularly appears with some of Europe’s most celebrated period ensembles, such as Cantus Coelln, Collegium Vocale Gent, Huelgas Ensemble, Ensemble Pygmalion and ensemble polyharmonique.

Equally at home on the solo platform, she has appeared with numerous orchestras, among them Concerto Köln, Lautten Compagney Berlin, Nordwestdeutsche Philharmonie, Göttinger Symphonieorchestrer, Neue Philharmonie Westfalen, Neue Düsseldorfer Hofmusik, Münchener Kammerorchester and others.

Anne Bierwirth
studied singing and historical interpretation practice with Professor Heidrun Kordes at the University of Music and Performing Arts in Frankfurt am Main. She is a sought-after concert and oratorio singer. Her repertoire ranges from Renaissance, Baroque, Classical and Romantic works to contemporary compositions. Concert engagements have taken the contralto to numerous cities in Germany and Europe as well as on concert tours to Brazil, China, Russia and South Africa. She has worked with conductors such as Ivor Bolton, Thomas Hengelbrock, Pablo Heras-Casado, Hermann Max, Wolfgang Schäfer, Michael Schneider and Florian Heyerick. She is a regular guest at numerous festivals such as the Leipzig Bach Festival, the Telemann Festival Magdeburg, the Rheingau Music Festival, the Zermatt Festival and the Baden-Baden Whitsun Festival. Various CD recordings and radio recordings document her work.

Tobias Hunger
began his musical training in the Dresden Kreuzchor and studied singing with Professor Hermann Christian Polster at the Felix Mendelssohn Bartholdy Academy of Music in Leipzig. As an internationally sought-after concert and oratorio singer, he regularly travels to countries such as the Czech Republic, Austria, Switzerland, France, Belgium, the Netherlands, Norway and Finland.

He is particularly focussed on the interpretation of 17th and 18th century music. He repeatedly works with renowned ensembles, orchestras and conductors such as Philippe Herreweghe, Andreas Spering, Adam Viktora, Václav Luks, Peter Schreier, Hans-Christoph Rademann, Hermann Max, Wolfgang Katschner, Ludwig Güttler, Kreuzkantor Roderich Kreile and Thomaskantor Gotthold Schwarz. Performances have taken him to outstanding concert halls such as the Berlin and Cologne Philharmonie, the Vienna Konzerthaus, the Rudolfinum in Prague, the Gasteig in Munich, the Glocke in Bremen, the Gewandhaus Leipzig, the Tonhalle Zurich, the Liederhalle Stuttgart, the Théâtre des Champs Elysées in Paris and the Amsterdam Concertgebouw.

Numerous CD and radio recordings document his extensive oeuvre. In addition to the complete vocal works of Johann Sebastian Bach, his repertoire ranges from works from the Renaissance, Baroque and Classical periods to music from the 1920s and 1930s as well as modern music. He made a successful guest appearance at the Munich Biennale in the stage play L'Abcence by Sarah Nemtsov as RABBINER.

In opera, he has also sung roles such as PAOLINO (Il matrimonio segreto), CARAMELLO (Eine Nacht in Venedig), DON OTTAVIO (Don Giovanni), FERRANDO (Così fan tutte), ACIS (Acis and Galatea) and BASILIO/DON CURZIO (Le nozze di Figaro). Most recently, he sang TRIQUET in Tchaikovsky's Eugene Onegin at the Hessian State Theatre in Wiesbaden. Tobias Hunger has completed masterclasses with Peter Schreier, Scot Weir, Gerd Türk, Eva Randová and the King's Singers.

Booklet for Gregor Joseph Werner: Vol. III: Masses and Motets